DOCSLIB.ORG

The Dancers the Harriman and Russian Ballet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dancers the Harriman and Russian Ballet the harriman institute at columbia university SUMMER 2014 The Dancers The Harriman and Russian Ballet Bosnian Spring Signals New Possibilities How to Read Chekhov Ukraine’s Third Attempt Gary Shteyngart on Little Failure Harriman Magazine is published biannually by the Harriman Institute. Managing Editor: Ronald Meyer Editor: Masha Udensiva-Brenner Comments, suggestions, or address changes may be e-mailed to Masha Udensiva-Brenner at [email protected]. Cover photo by Nina Alovert: Vera Arbuzova in Red Giselle, choreography by Boris Eifman (1997) Photo, right, by Nina Alovert: Yulia Makhalina, Studio, Mariinsky Theatre (1992) Design and Production: Columbia Creative Harriman Institute Timothy Frye, Director Alexander Cooley, Deputy Director for Social Sciences Programming Kimberly Marten, Deputy Director for Development Alan Timberlake, Deputy Director for Humanities Programming Alla Rachkov, Associate Director Harriman Institute Columbia University 420 West 118th Street New York, NY 10027 Tel: 212-854-4623 Fax: 212-666-3481 For the latest news and updates about the Harriman Institute, visit harriman.columbia.edu. Stay connected through Facebook and Twitter! www.twitter.com/HarrimanInst www.facebook.com/TheHarrimanInstitute A FROM THE DIRECTOR he crisis in Ukraine and protests in Bosnia-Herzegovina (BiH) have made this calendar year an exceptionally eventful one for our region. This issue profiles T Alexander Vershbow, Russian Institute alumnus, deputy secretary general of NATO, and former U.S. ambassador to Russia, South Korea, and NATO, who provided a thoughtful perspective on the crisis in Ukraine in his April 2014 speech titled, “A New Strategic Reality in Europe.” In addition, Mykalo Riabchuk, a former Harriman Institute Petro Jacyk Visiting Professor, draws on various scholarly and journalistic arguments to analyze the sources of the Maidan protests and Ukraine’s deeper struggle to balance Eastern and Western influences. Turning to the political unrest in BiH, Tanya Domi, adjunct professor of international and public affairs, and Jasmin Mujanovic, visiting scholar at the Harriman Institute, find hope in the creation of grassroots popular assemblies to address deep political cleavages. In these challenging times, historical perspective is in high demand and, too often, short supply. In a profile of the late Peter H. Juviler, professor emeritus of political science at Barnard College and cofounder of Barnard’s human rights program, we see what it was like to travel to the USSR in 1956 as one of the first U.S. graduate students to visit the region after the Stalin years. Tom Kent, adjunct professor of journalism and of international and public affairs, who was a correspondent in Moscow during the Brezhnev years, reflects on reasons for the survival of Brezhnev’s failing regime, giving us a taste of life during the last years of the Soviet Union. Then, on a more humorous note, the award-winning author, Gary Shteyngart, a Harriman faculty member, discusses his new memoir, Little Failure, and what it was like to come to the United States from Leningrad as a seven-year-old. We were fortunate to host Shteyngart for a reading and discussion this spring, and you can find photographs of the event accompanying the interview (to watch the video, go here: harriman.columbia.edu/event/reading-and-conversation-gary-shteyngart). We also have a special treat. Last fall, we had the pleasure of mounting Nina Alovert’s “The Dancers,” a retrospective of her photographs of Russian ballet in the Soviet Union and the United States from the 1960s to the twenty-first century. You can find some of these photographs within the pages of this magazine. We’ve also profiled Stephen Reidy, a former Russian Institute student who currently sits on the board of the New York City Ballet. And, last but not least in the ballet section, we have a piece on the prominent ballet historian and Harriman faculty member Lynn Garafola, who won fellowships from both the Guggenheim Foundation and the New York Public Library’s Cullman Center for the year 2013–14 to support research for her biography of Bronislava Nijinska. In addition, Cathy Popkin of Columbia’s Slavic Department recently published the new Norton Critical Edition of Anton Chekhov’s Selected Stories. We are thrilled to reprint excerpts from her Introduction as well as a story from the collection. We hope you enjoy this issue and look forward to hearing your feedback and ideas for future stories. Timothy Frye Director, Harriman Institute HARRIMAN MAGAZINE | 1 SUMMER 2014 / VOLUME 2, NUMBER 1 32 8 Alexander Vershbow in Profile COVER STORY By Ronald Meyer The Dancers: The Harriman and Russian Ballet Deputy secretary general of NATO Alexander Vershbow began building his By Ronald Meyer expertise in arms control and security A look at the Harriman Institute’s ties to Russian ballet, for many the while attending a Russian Institute graduate quintessential Russian art form, through the eyes of photographer Nina seminar taught by Marshall Shulman. He credits his expertise on Russia and Eastern Alovert; former Russian Institute student Stephen Reidy, who now sits Europe, gained at Columbia, for equipping on the board of New York City Ballet; and distinguished Harriman him for the broader responsibilities he faculty member and dance historian Lynn Garafola. shouldered as director of Soviet Union affairs and U.S. ambassador to Russia. The Dancers: A Photo Lynn Garafola and Her Journey Exhibition by Nina Alovert as a Dance Historian Peter H. Juviler, 1926–2013 By Masha Udensiva-Brenner On the life and work of the the Harriman Institute’s 2011 Alumnus of the Year and cofounder of Barnard’s Human Rights Program—the first of its kind in the Baryshnikov/Balanchine: United States. A Profile of Stephen K. Reidy 2 | HARRIMAN MAGAZINE CONTENTS 22 16 52 Russia in the Late Years of Soviet Ukraine’s Third Attempt In Memoriam Rule: Why Did Citizens Comply with By Mykola Riabchuk a Failing Regime? An examination of the Euromaidan protests By Thomas Kent and what they tell us about the current Thomas Kent, adjunct associate professor situation in Ukraine. of journalism and of international and Alumni & Postdoc Notes public affairs, was a correspondent for the Associated Press in Moscow from 1976 to 1978 and from 1979 to 1981. In this piece he answers an often-asked question: Why did Russians put up with the privations of Anton Chekhov’s Selected Stories life in the late years of Soviet rule? Edited by Cathy Popkin Giving to Harriman How to Read Chekhov,” from Cathy Popkin’s Introduction to the Norton Critical Edition of Chekhov’s Selected Stories, followed by Katherine Tiernan O’Connor’s translation of “A Little Game.” Bosnian Spring Signals New Possibilities for Bosnia-Herzegovina By Jasmin Mujanovic and Tanya L. Domi Can Bosnia-Herzegovina leave behind the corruption and discontent it has faced Gary Shteyngart’s Little Failure during these past two decades? By Masha Udensiva-Brenner The author discusses life as a Soviet immigrant in the 1980s and the challenges of writing. HARRIMAN MAGAZINE | 3 The Kremlin Embankment, Moscow (photo by Dmitry Azovtsev) BY RONALD MEYER ALEXANDER VERSHBOW IN PROFILE 4 | HARRIMAN MAGAZINE PROFILES n April 2014, Alexander Vershbow (Russian Institute ’76), issues”—including missile defense cooperation, nonstrategic nuclear deputy secretary general of NATO, delivered a speech on “A weapons, and military transparency. New Strategic Reality in Europe” to the twenty-first International Vershbow traces his expertise in arms control back to a graduate I Conference on Euro-Atlantic Security (Krakow, Poland) that seminar at Columbia taught by Marshall Shulman, whom he opens with the statement, “For twenty years, the security of the characterizes as “one of the all-time great experts on Soviet foreign Euro-Atlantic region has been based on the premise that we do policy.” At the time of Vershbow’s tenure at the Russian Institute not face an adversary to our east. This premise is now in doubt.” in the mid-1970s, the subject of arms control was relatively new— Vershbow has devoted much of his distinguished career to the goal the first Strategic Arms Limitation Agreements (SALT) were signed of building an inclusive, integrated European security system that in 1972, amid fears that advances in U.S. and Soviet technology not only put an end to Cold War divisions, including opening would outpace the ability of negotiators to produce verifiable agree- NATO to new members in Eastern Europe, but also provided a ments to limit the nuclear arms race. In his paper for Shulman’s central role for a democratic Russia. As Vershbow points out, how- class, Vershbow examined the emerging cruise missile, whose tiny ever, “Russia’s recent actions against Ukraine have been a wake-up size and versatility made it difficult to verify with satellite imagery. call for everyone in the Euro-Atlantic community. They follow a The paper, which argued for unilateral renunciation of the system in pattern of behavior that we already observed in Transnistria, South order to save the arms control process, appeared in Foreign Affairs Ossetia and Abkhazia. The pattern is to influence, destabilize and in the summer of 1976, just before Vershbow joined the U.S. even intervene in countries on Russia’s borders, to prolong ‘frozen’ Foreign Service. The fledgling Carter administration did not adopt conflicts by supporting corrupt, separatist groups, and to thereby Vershbow’s radical proposal, but the article did pave the way for him deny sovereign states the ability to choose their own security to work on nuclear arms issues in his first State Department assign- arrangements and to chart their own political destinies.” Vershbow, ment, which included several stints as an adviser to the SALT talks an expert on issues related to missile defense and nuclear arms, in Geneva (a rare experience for a first-tour officer) and facilitated notes in the same speech that even before the recent crisis, the a Moscow assignment for his second tour.
Load more

Recommended publications
  • The Prima Ballerinas of the Kirov
    Philippe Jordan MD CLINIC 23 23 Elystan St, SW33NT.London. Feb 2017 THE PRIMA BALLERINAS OF THE KIROV Диана Вишнёва DIANA VISHNEVA C A T A L O G U E PHILIPPE JORDAN France 1962 The Wandering Banker, Moscow. To survive in the harsh reality of Moscow, the financier Philippe Jordan spends his evenings drawing Indians, creating ballerinas, and meeting oligarchs. And it helps! Philippe is quite an unconventional banker. During working hours he is deals with derivatives, futures and options, but in his private time he makes paintings on glass, and art from paper. “It seemed to me that there was always some magic at the Ballet: the music played, the notes came alive, the ballerinas flew in the air” Philippe was born in Strasbourg, and his stepfather, Robert Grossmann, not only was the vice- mayor of the town of Strasbourg, but also a long-term associate of Nicolas Sarkozy – “the man who thirty years ago taught the future French president the art of public speaking.” The former president of France also has one of Jordan’s works: a courier delivered it, and after a few days, Philippe received a letter of thanks. Unconventional by nature, again in 2010, Philippe invited his friend in Moscow, the French author Michel Houellebecq, who once compared Philippe’s works to those of Giorgio de Chirico. The story of their friendship is downright amazing. After reading the novel "The Map and the Territory," Jordan was shocked - the book’s main character was so much like him. He, like Jordan, met with Abramovich. And also painted a portrait of Houellebecq.
    [Show full text]
  • Bolshoi Theater
    FOR IMMEDIATE RELEASE Contact: Dick Caples Tel: 212.221.7909 E-mail: [email protected] Lar Lubovitch awarded the 20th annual prize for best choreography by the Prix Benois de la Danse at the Bolshoi Theater. He is the first head of an American dance company ever to be so honored. New York, NY, May 23, 2012 – Last night at the Bolshoi Theater in Moscow, Lar Lubovitch was awarded the 20th annual prize for best choreography by the Prix Benois de la Danse. Lubovitch is the first head of an American dance company ever presented with the award. He was honored for his creation of Crisis Variations, which premiered at the Baryshnikov Arts Center in New York City on November 9, 2011. The work, for seven dancers, is set to a commissioned score by composer Yevgeniy Sharlat, and the score was performed live at its premiere by the ensemble Le Train Bleu, under the direction of conductor Ransom Wilson. To celebrate the occasion, the Lar Lubovitch Dance Company performed the duet from Meadow for the audience of 2,500 at the Bolshoi. The dancers in the duet were Katarzyna Skarpetowska and Brian McGinnis. The laureates for best choreography over the previous 19 years include: John Neumeier, Jiri Kylian, Roland Petit, Angelin Preljocaj, Nacho Duato, Alexei Ratmansky, Boris Eifman, Wayne McGregor, Sidi Larbi Cherkaoui, and Jorma Elo. Other star performers and important international figures from the world of dance received prizes at this year’s award ceremony. In addition to the award for choreography given to Lubovitch, the winners in other categories were: For the best performance by a ballerina: Alina Cojocaru for the role of Julie in “Liliom” at the Hamburg Ballet.
    [Show full text]
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
    [Show full text]
  • Bam 2016 Annual Report
    BAM 2016 2 1ANNUAL REPORT 0 6 BAM’s mission is to be the home for adventurous artists, audiences, and ideas. 3—6 Community, 31–33 GREETINGS DanceMotion USASM, 34–35 Chair Letter, 4 Visual Art, 36–37 President & Executive Producer’s Letter, 5 Membership, 38 BAM Campus, 6 Membership, 37—39 7—35 40—47 WHAT WE DO WHO WE ARE 2015 Next Wave Festival, 8–10 BAM Board, 41 2016 Winter/Spring Season, 11–13 BAM Supporters, 42–45 Also On Stage, 14 BAM Staff, 46–47 BAM Rose Cinemas, 15–20 48—50 First-run Films, 16 NUMBERS BAMcinématek, 17–18 BAM Financial Statements, 49–50 BAMcinemaFest, 19 HD Screenings, 20 51—55 BAMcafé Live, 21–22 THE TRUST BAM Hamm Archives, 23 BET Chair Letter, 52 Digital Media, 24 BET Donors, 53 Education & Humanities, 25–30 BET Financial Statements, 54–55 2 TKTKTKTK Cover: Urban Bush Women in Walking with ‘Trane| Photo: Julieta Cervantes Greetings GREETINGS 3 TKTKTKTK 2016 Winter/Spring | Royal Shakespeare Company in Henry IV Part I | Photo: Richard Termine Change is anticipated, expected, welcomed. — Alan H. Fishman Dear Friends, As you all know, and perhaps celebrated (!), Anne Bogart, Ivo van Hove, Long time trustee Beth Rudin Dewoody As I end my leadership role, I want to I stepped down as chairman of this William Kentridge, and many others. became an honorary trustee. Mark Jackson express my thanks to all I have met and miraculous institution effective December and Danny Simmons, both great trustees, worked with along the way. Together we have 31, 2016.
    [Show full text]
  • The Mariinsky Ballet & Orchestra
    Thursday, October 1, 2015, 8pm Friday, October 2, 2015, 8pm Saturday, October 3, 2015, 2pm & 8pm Sunday, October 4, 2015, 3pm Zellerbach Hall The Mariinsky Ballet & Orchestra Gavriel Heine, Conductor The Company Diana Vishneva, Nadezhda Batoeva, Anastasia Matvienko, Sofia Gumerova, Ekaterina Chebykina, Kristina Shapran, Elena Bazhenova Vladimir Shklyarov, Konstantin Zverev, Yury Smekalov, Filipp Stepin, Islom Baimuradov, Andrey Yakovlev, Soslan Kulaev, Dmitry Pukhachov Alexandra Somova, Ekaterina Ivannikova, Tamara Gimadieva, Sofia Ivanova-Soblikova, Irina Prokofieva, Anastasia Zaklinskaya, Yuliana Chereshkevich, Lubov Kozharskaya, Yulia Kobzar, Viktoria Brileva, Alisa Krasovskaya, Marina Teterina, Darina Zarubskaya, Olga Gromova, Margarita Frolova, Anna Tolmacheva, Anastasiya Sogrina, Yana Yaschenko, Maria Lebedeva, Alisa Petrenko, Elizaveta Antonova, Alisa Boyarko, Daria Ustyuzhanina, Alexandra Dementieva, Olga Belik, Anastasia Petushkova, Anastasia Mikheikina, Olga Minina, Ksenia Tagunova, Yana Tikhonova, Elena Androsova, Svetlana Ivanova, Ksenia Dubrovina, Ksenia Ostreikovskaya, Diana Smirnova, Renata Shakirova, Alisa Rusina, Ekaterina Krasyuk, Svetlana Russkikh, Irina Tolchilschikova Alexey Popov, Maxim Petrov, Roman Belyakov, Vasily Tkachenko, Andrey Soloviev, Konstantin Ivkin, Alexander Beloborodov, Viktor Litvinenko, Andrey Arseniev, Alexey Atamanov, Nail Enikeev, Vitaly Amelishko, Nikita Lyaschenko, Daniil Lopatin, Yaroslav Baibordin, Evgeny Konovalov, Dmitry Sharapov, Vadim Belyaev, Oleg Demchenko, Alexey Kuzmin, Anatoly Marchenko,
    [Show full text]
  • Catastrophes in the Air 1 Joseph Brodsky
    1 Catastrophes in the Air 1 Joseph Brodsky Il y a des rem`edes `ala sauvagerie primitive; li n’y en a point `ala manie de paraˆıtre ce qu’on n’est pas. Marquis de Custrine, Lettres de Russie 1 Because of the volume and quality of Russian fiction in the nineteenth century, it’s been widely held that the great Russian prose of that century has auto- matically, by pure inertia, wandered into our own. From time to time, in the course of our century, here and there one could hear voices nominating this or that writer for the status of the Great Russian Writer, purveyor of the tradi- tion. These voices were coming from the critical establishment and from Soviet officialdom, as well as from the intelligentsia itself, with a frequency of roughly two great writers per decade. During the postwar years alone – which have lasted, blissfully, so far – a minimum of half a dozen names have filled the air. The forties ended with Mikhail Zoshchenko and the fifties started with the rediscovery of Babel. Then came the thaw, and the crown was temporarily bestowed upon Vladimir Dud- intsev for his Not by Bread Alone. The sixties were almost equally shared by Boris Pasternak’s Doctor Zhivago and by Mikhail Bulgakov’s revival. The bet- ter part of the seventies obviously belong to Solzhenitsyn; at present what is in vogue is so-called peasant prose, and the name most frequently uttered is that of Valentin Rasputin. Officialdom, though, it should be noted in all fairness, happens to be far less mercurial in its preferences: for nearly fifty hears now it has stuck to its guns, pushing Mikhail Sholokhov.
    [Show full text]
  • Forging a Transcultural Identity As a Russian-American Writer Lara Vapnyar and Cultural Adaptation
    Forging a Transcultural Identity as a Russian-American Writer Lara Vapnyar and Cultural Adaptation KAREN L.RYAN ________________________ a ________________________ Introduction ARA V APNYAR is one of a loosely delimited group of Russian-Amer- ican writers who have come to prominence on the North American L literary scene in the last ten to fifteen years, as part of the so-called Fourth Wave of Russian émigrés. Most of these relatively young writers came to the USA or Canada as children or adolescents. In a few cases, they are the children of Third-Wave émigrés, who left the Soviet Union in the 1970s and early 1980s. Although their work is stylistically and generically diverse, they share a predilection for quasi-autobiographical prose and a preoccupation with questions of cultural identity, adaptation and assimilation, and nostalgia. In addition to Vapnyar, this group includes David Bezmozgis (b. 1973), Olga Grushin (b. 1971), Irina Reyn (b. 1974), Gary Shteyngart (b. 1972), and Anya Ulinich (b. 1973). A more extensive roster of Russian anglophone writers would include Mark Budman (b. 1950), Sana Krasikov (b. 1979), and Ellen Litman (b. 1973). Although their originary language1 is Russian, all of these writers have opted to write in English in the North American diaspora.2 Most have acquired their 1 ‘Originary’ here refers to one’s primary language. It is quite possible to have more than one native language, but the originary language is that into which one is born. This terminology is not without its problems, but it captures well the linguistic circum- stances of these Russian-American writers.
    [Show full text]
  • America's Russian-Speaking Jews Come of Age
    Toward a Comprehensive Policy Planning for R u s s i a n - Speaking Jews in North America Project Head Jonathan D. Sarna Contributors Dov Maimon, Shmuel Rosner In dealing with Russian-speaking Jews in North America, we face two main challenges and three possible outcomes. CHALLENGES: 1. Consequences of disintegration of the close-knit immigrant society of newly arrived Russian-speaking Jews. 2. Utilizing the special strengths of Russian-speaking Jews for the benefit of the wider American Jewish community. POSSIBLE OUTCOMES: 1. The loss of Jewish identity and rapid assimilation. 2. An adaptation of American-Jewish identity (with the benefits and shortcomings associated with it). 3. A formation of a distinctive Russian-speaking Jewish identity strong enough to be further sustained. There is a 10 to 15-year window of opportunity for intervention with this population. There is also a need to integrate, in a comprehensive manner, organizations to positively intervene in the field. At this preliminary stage, several recommendations stand out as urgent to address this population’s needs: - An effort on a national scale to assist the communities that are home to the majority of Russian-speaking Jews. - Funding for programs that will encourage Russian-speaking Jews to move into Jewish areas. - Special programs to promote in-marriage. - Dialogue mechanisms for Russian-speaking Jews in Israel, the US, Germany, and the Former Soviet Union. - Programs building on Russian-speaking Jews’ sense of peoplehood to bolster ties among all Jews to Israel. - Possible reciprocity between Jewish education and education in science and math for Russian-speaking Jews ("Judaism for math").
    [Show full text]
  • Cultural Identity Construction in Russian-Jewish Post-Immigration Literature
    Cultural Identity Construction in Russian-Jewish Post-Immigration Literature by Regan Cathryn Treewater A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Department of Comparative Literature University of Alberta © Regan Cathryn Treewater, 2017 ii Abstract The following dissertation examines narratives of immigration to Western Europe, Israel and North America authored by Russian-speaking writers of Jewish decent, born in the Soviet Union after World War II. The project seeks to investigate representations of resettlement experiences and cultural identity construction in the literature of the post- 1970s Russian-Jewish diaspora. The seven authors whose selected works comprise the corpus of analysis write in Russian, German and English, reflecting the complex performative nature of their own multilayered identities. The authors included are Dina Rubina, Liudmila Ulitskaia, Wladimir Kaminer, Lara Vapnyar, Gary Shteyngart, Irina Reyn, and David Bezmozgis. The corpus is a selection of fictional and semi- autobiographical narratives that focus on cultural displacement and the subsequent renegotiation of ‘self’ following immigration. In the 1970s and final years of Communist rule, over one million Soviet citizens of Jewish heritage immigrated to Western Europe, Israel and North America. Inhospitable government policies towards Soviet citizens identified as Jewish and social traditions of anti-Semitism precipitated this mass exodus. After escaping prejudice within the Soviet system, these Jewish immigrants were marginalized in their adopted homelands as Russians. The following study of displacement and relocation draws on Homi Bhabha’s theories of othering and unhomeliness. The analyzed works demonstrate both culturally based othering and unhomely experiences pre- and post-immigration resulting from relegation to the periphery of society.
    [Show full text]
  • Kirov Ballet & Orchestra of the Mariinsky Theatre
    Cal Performances Presents Tuesday, October 14–Sunday, October 19, 2008 Zellerbach Hall Kirov Ballet & Orchestra of the Mariinsky Theatre (St. Petersburg, Russia) Valery Gergiev, Artistic & General Director The Company Diana Vishneva, Irma Nioradze, Viktoria Tereshkina Alina Somova, Yulia Kasenkova, Tatiana Tkachenko Andrian Fadeev, Leonid Sarafanov, Yevgeny Ivanchenko, Anton Korsakov Elena Bazhenova, Olga Akmatova, Daria Vasnetsova, Evgenia Berdichevskaya, Vera Garbuz, Tatiana Gorunova, Grigorieva Daria, Natalia Dzevulskaya, Nadezhda Demakova, Evgenia Emelianova, Darina Zarubskaya, Lidia Karpukhina, Anastassia Kiru, Maria Lebedeva, Valeria Martynyuk, Mariana Pavlova, Daria Pavlova, Irina Prokofieva, Oksana Skoryk, Yulia Smirnova, Diana Smirnova, Yana Selina, Alisa Sokolova, Ksenia Tagunova, Yana Tikhonova, Lira Khuslamova, Elena Chmil, Maria Chugay, Elizaveta Cheprasova, Maria Shirinkina, Elena Yushkovskaya Vladimir Ponomarev, Mikhail Berdichevsky, Stanislav Burov, Andrey Ermakov, Boris Zhurilov, Konstantin Zverev, Karen Ioanessian, Alexander Klimov, Sergey Kononenko, Valery Konkov, Soslan Kulaev, Maxim Lynda, Anatoly Marchenko, Nikolay Naumov, Alexander Neff, Sergey Popov, Dmitry Pykhachev, Sergey Salikov, Egor Safin, Andrey Solovyov, Philip Stepin, Denis Firsov, Maxim Khrebtov, Dmitry Sharapov, Vasily Sherbakov, Alexey Timofeev, Kamil Yangurazov Kirov Ballet of the Mariinsky Theatre U.S. Management: Ardani Artists Management, Inc. Sergei Danilian, President & CEO Made possible, in part, by The Bernard Osher Foundation, in honor of Robert
    [Show full text]
  • Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
    edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P.
    [Show full text]
  • Soviet Journalism, the Public, and the Limits of Reform After Stalin, 1953- 1968
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output A Compass in the Sea of Life: Soviet Journalism, the Public, and the Limits of Reform After Stalin, 1953- 1968 https://eprints.bbk.ac.uk/id/eprint/40022/ Version: Full Version Citation: Huxtable, Simon (2013) A Compass in the Sea of Life: Soviet Journalism, the Public, and the Limits of Reform After Stalin, 1953-1968. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email A Compass in the Sea of Life Soviet Journalism, the Public, and the Limits of Reform After Stalin, 1953-1968 Simon Huxtable Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of London 2012 2 I confirm that the work presented in this thesis is my own, and the work of other persons is appropriately acknowledged. Simon Huxtable The copyright of this thesis rests with the author, who asserts his right to be known as such according to the Copyright Designs and Patents Act 1988. No dealing with the thesis contrary to the copyright or moral rights of the author is permitted. 3 ABSTRACT This thesis examines the development of Soviet journalism between 1953 and 1968 through a case study of the youth newspaper Komsomol’skaia pravda. Stalin’s death removed the climate of fear and caution that had hitherto characterised Soviet journalism, and allowed for many values to be debated and renegotiated.
    [Show full text]